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The Lost Laugh #12 1 April 2020 Welcome to issue 12 of THE LOST LAUGH. I hope, wherever this reaches you, that you’re coping OK with these troubled times, and keeping safe and well. These old, funny films are a great form of escapism and light relief at times like these. In fact, I was thinking the other day that the times they were made in had their fair share of troubles : two world wars, the 1918 flu pandemic, the Wall Street Crash and the great depression, to name a few. Yet, these comics made people smile, often even making fun out of the anxi- eties of the day. That they can still make us smile through our own troubles, worlds away from their own, is testament to how special they are. I hope reading this issue helps you forget the outside world for a while and perhaps gives you some new ideas for films to seek out to pass some time in lockdown. Thanks to our contributors this issue: David Glass, David Wyatt and Ben Model; if you haven't seen them yet, Ben’s online silent comedy events are a terrific idea that help to keep the essence of live silent cinema alive. Ben has very kindly taken time to answer some questions about the shows. As always, please do get in touch at [email protected] with any comments or suggestions, or if you’d like to contribute an article (or plug a project of your own!) in a future issue. Finally, don’t for- get that there are more articles, including films to watch online, at thelostlaugh.com. Until next time, keep smiling! Matt BABY PEGGY Goodbye to the last of the silent screen stars…. 3 THE SILENT COMEDY WATCH PARTY A Q & A with BEN MODEL………………….…………… 7 DVD NEWS ………………………………………….……… 9 WALTER FORDE: The short films………………… 12 MISSING IN ACTION: MABEL NORMAND’S last film ….…………………...20 MONTY BANKS in the sound era .……………… 22 ROSCOE ARBUCKLE His films without Buster Keaton 1918-19…….… 28 The curious story of MELTON BARKER .……… 36 SCREENING NOTES: Rarities from Hal Roach & Mack Sennett ……… 37 2 In February, we lost the last direct link to the silent film era when Diana Serra Cary, the child star 'Baby Peggy', passed away aged 101. As 'Baby Peggy Montgomery', she was one of the most charming child stars of the silent era, and one of the most adept at come- dy. Appearing in almost 150 shorts and several features, ’Peggy’ was one of the most popular child stars of the 1920s. I first became aware of her at a screening of her Century comedy, THE KID REPORTER, at Bristol's Slapstick Festival about 15 years ago. The print of this short film was rather beaten up, and only had foreign titles (David Robinson ad-libbed translations of them as the film was shown) but Peggy's terrific performance shone through. Accompanied by Brownie the Wonder Dog (with whom she made many films), the intrepid infant adopts a series of disguises to help solve a crime, exhibiting terrific comic timing in the process - and she was only three years old! The short got one of the best responses of the whole festival. So much so, that the following year she was invited to attend in person to introduce a showing of her feature film, CAPTAIN JANUARY (1924). It's no wonder that she was snapped up for features; her ability to switch between comedy routines and genuine pathos was phenomenal. This warm comedy drama also went down a storm, and Ms Carey's introduction was sharp and insightful. Afterwards, I was very fortunate to have a brief chat with her - she was patient and kind to this awkward teenager, and signed a wonderful old still photo to me. Losing that photo in a house flood a few years later was a very real disappointment. Baby Peggy's career began at the age of 2 and a half. Her first short was called PLAYMATES, and 95 years later she still had vivid memories of the filming: “I had to sit in a tub and take a bath outside in the sunlight, with the help of Brownie. The suds were actually made with whipped cream which soured in the heat and made me sick to my stomach. I told my father I was going to be ill and he said to just swallow hard. I couldn’t look at whipped cream again until I was about 10.” The film still exists, and shows a very young Peggy acting out the scene with Brownie. Even at such a young age, she takes direction naturally and un- self-consciously, and as she grew so did her skill. She quickly developed a real knack for comic timing, which is seen in the surviving entries from the series. Often her shorts kidded adult films, as in PEG O’ THE MOUNTED ,a spoof of North West Mounted Police dramas; in PEG OF THE MOVIES she impersonated both Rudolph Valentino and Pola Negri! These shorts, along with other survivors like MILES OF SMILES and L-R: Artwork for LITTLE RED RIDING HOOD (1922); Peggy’s first film role, PLAYMATES (1921), THE 3 KID REPORTER (1922), and Diana in more recent years. A scene from CAPTAIN JANUARY, and a publicity shot for THE FAMILY SECRET. THE KID REPORTER, showcased her effortless charm and wonderful comic reactions. Peggy soon graduated from the Century comedies to features at Universal. Her time at the top resulted in a string of feature films, including THE DARLING OF NEW YORK, HELEN'S BABIES (alongside Clara Bow) and THE FAMILY SECRET. These tended toward mixtures of melodrama, slapstick and gentle character comedy. THE FAMILY SECRET, recently released to DVD, is a dat- ed gaslight drama of an illegitimate child and her estranged father, but is hugely enlivened by some charming comic scenes, including Peggy trying to bath her dog and starting a food fight at a fruit stall. At Peggy’s peak, she was reportedly earning up to $1.5 million annually, but was soon to learn the harsh flipside of child star- dom. When her father had a disagreement with producer Sol Lesser, her contract was abruptly cancelled. She managed only one more small part in APRIL FOOL (1926) before work dried up. By the age of nine, she was a has-been. Worse, between her parents’ overspending and an unscrupulous manager, most of the “million dollar baby’s” fortune was gone: “I was earning $12,000 a week from Universal. It was a huge amount of money for my parents to handle so they gave my fa- ther’s stepfather, a banker, power of attorney to manage it. Well, he knew how to handle the money – he put it in his pocket and disappeared! All the money was gone and we never saw him again.” This, coupled with failed investments and the Wall Street Crash, forced her to endure gruelling vaudeville tours and extra work to support her family. Unlike many other child stars, she had the fortitude to survive these indignities and hardships. Although the 1930s and 40s were very difficult times for her, she ultimately triumphed. In later life, she successfully reinvented herself as an author and silent film historian. She even published her first novel at age 99!. Her books 'Whatever Happened to Baby Peggy?' and 'Hollywood's Children' are fascinating reads, which share the stark realities of child stardom without ever being maudlin. It's a wonder that she was able to come through it all and become so well-balanced. In her last years, she was feted at film screenings and festivals, and lived a happy, well earned retirement until ill health began to restrict her activities a couple of years ago. Her 101 years were well-lived, indeed. Diana Serra Cary/ Baby Peggy-Jean Montgomery, October 29, 1918 – February 24, 2020. Diana Serra Cary ‘s autobiography, WHATEVER HAPPENED TO BABY PEGGY, is still in print (and available in a Kindle version). Her starring feature THE FAMILY SECRET has recently been issued by Ben Model’s Un- dercrank productions, and also features two of her surviving shorts : MILES OF SMILES and CIRCUS CLOWNS. Both are available from Amazon and other online retailers. 4 The article below comes from Moving Picture Weekly, April 1922, at the time Baby Peggy was appearing in Cen- tury comedies. 5 6 BEN MODEL talks us through THE SILENT COMEDY WATCH PARTY This spring, as lockdown took hold around the world, chances to see live screenings of silent comedy evaporated. Well, not quite, thanks to the determined efforts of silent comedy devotees Ben Model & Steve Massa. After already giving us a string of crowdfunded DVDs and magnificent books between them, the pair have once again proved to be heroes of silent comedy fandom by creating The Silent Comedy Watch Party, a weekly live streaming event that provides a ray of sunshine for comedy fans! The wonderful events take place every Sunday on YouTube. Presenting three comedy shorts with Ben's terrific piano accompaniment and Steve's insightful intros (streamed in via FaceTime), the watch parties make for wonderful viewing and are preserving the essence of live silent cinema in the most difficult circumstances. Ben very kindly took the time to give some insight into the shows for us: The Lost Laugh: Hi, Ben! Thanks so much for taking the time to answer these questions. Can you tell us a little about the silent comedy watch party and how the idea for the shows came about? Ben: I’ve had the idea to do a live-streamed silent film show for a few years, actually.
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